GB Shuttle 9.2 EQ question

Hello All. Wondering if anyone might have some suggestions for a STARTING point with EQ that you have found succesful for the above amp? Full disclosure: I play mostly on the Tube side of the amp, I play a Warwick thumb mostly with my treble and bass relatively flat, and my main group is a R&B/Steely Dan kind of thing. Dont need to be too ferocious. I know the obvious answer is to start with everything flat and adjust to taste; I was just looking to bypass a few steps if there is some general consensus out there about some of the settings. Any help would be appreciated!

I should also add I play out of an AMPEG 4x10 (looking to upgrade to a pair of Berg HD 12's if anyone is giving em away ). My rehearsal space (where I play mostly now as we are in writing mode) is a freakin' airplane hangar, so I'm basically battling against an enclosed football field of reverb and echo.

I don't know Ampeg cabinets, but for my fEARless I like to give big bump in the low mids around 250Hz, a smaller bump in the hi mids around 1K, and depending on the room I'll engage the low boost or hi boost switches. For my hands, bass, and cab, that works well.

Thanks. I'm assuming you mean a bump from 12 o'clock? Would a large bump for you be to maybe the 3 o'clock position?

How you like the Fearful/FearLESS stuff? I spec'd out a Dually some time ago, but it got crazy expensive with all the cosmetic stuff I wanted.

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Yes, I mean a bump from 12:00. I would say 3:00 is a large bump. But that kind of stuff is so dependent on your cabinets.

I LOVE the fEARful stuff, I would go as far as to say that I'm a bit of a fanatic, so maybe you might want to take my statements with a grain of salt.

I built my 15/6/1 myself, and it was relatively cheap, certainly for the incredible amount of clean volume it can put out. Especially with the true 3-way crossover, it has a pretty "flat" response, which means extended low-frequency response, no baked-in low-mid bump, and no frequency hole between the woofer and tweeter. They are said to "take eq well", which just means that because they do have a pretty flat response, you can really hear the effects of any eq tweaks you make. However, it also means they don't have much of a "voice", so I use the nice eq capabilities of the SM9.2 to get the voice I want, in particular that low-mid emphasis that works so well in a lot of rock mixes. They also put out a lot of low end, so you have to get used to rolling off the bass in some rooms.